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Sydney French: “The Mariinskii Ballet: Changing the World One Plié at A

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Sydney French: “The Mariinskii Ballet: Changing the World One Plié at A 1 Sydney French The Mariinskii Ballet: Changing the World One Plié at a Time The St. Petersburg’s Mariinskii Ballet is widely regarded as one of the world’s premier classical ballet companies. Housed in the Mariinskii Theatre, for over 275 years the ballet has played a major role in Russian society and has changed, suffered, and grown along with the nation. In this essay, I will outline the company’s history, what it looks like today, and the impact it has made on theatre history The Mariinskii Ballet has gone through several different names, corresponding to different periods in Russian history. It was first established as the Imperial Theatre School in 1738 under the rule of Empress Anna Ivanovna and holds the distinction of being Russia’s first dance academy (Mariinsky Ballet, <www.newworldencyclopedia.org>). This school was housed in St. Petersburg’s Winter Palace and consisted of a single ballet master, Jean-Baptiste Landé, twelve female students, and twelve male students (Mariinsky Ballet, <www.britannica.com>). From this school, the Imperial Russian Ballet was formed. The company’s early performances were staged before the royal court, almost exclusively for the viewing pleasure of the Imperial family and their guests. After 1780, the company moved into the Bolshoi Theatre (then the Petrovskii Theatre). Around this time, the Imperial Russian Ballet became established as a professional company (Mariinsky Ballet, <www.britannica.com>). Unfortunately, not much information exists about the early days of this remarkable ballet company. However, after the Russian Revolution in 1917, the 2 new Soviet government changed the name of the academy to the Leningrad State Choreographic School. At the same time, the Imperial Russian Ballet became the Soviet Ballet. This was done to remove any connection to old Imperial Russia, though both establishments remained at their previous locations. In 1938, the Soviet Ballet was renamed yet again to the Kirov Ballet after Sergei Kirov, head of the Communist party in Leningrad and a Bolshevik revolutionary who had been assassinated in 1934 (Ludden ccxxxiii). By the late 1800s, the ballet had officially moved to the Mariinskii Theatre and when the Soviet Union collapsed in 1991, the Kirov Ballet became the Mariinskii Ballet (though it is still often referred to as the Kirov Ballet). The ballet is strongly connected to the theatre itself and its associate opera company. The Mariinskii Theatre, opened in 1849 and modified many times since, has become such a landmark in the geography of St. Petersburg that the square the Mariinskii stands on is named Theatre Square. In recent years, a new theatre called Mariinskii II has opened its doors in close proximity to the original structure. (Mariinsky Theatre, <www.saint-petersburg.com>). The Mariinskii Theatre Mariinskii II (<www.spbmusicguide.info) (Mariinsky II, <www.mariinsky.ru>) 3 The Leningrad State Choreographic School, which was still partnered with the Mariinskii Ballet, was also renamed, this time to the Vaganova Ballet Academy. Agrippina Vaganova was a student at the academy who graduated in 1897 and began teaching at the school in 1921. Over the course of her career, she created a comprehensive curriculum, which she used to teach her students. This curriculum became widely popular and ushered in a new era of education in the world of ballet. Six years after her death, in 1957, her old academy took on her name. Today, the Vaganova Ballet Academy is one of the most prestigious dance institutions in the world. There are currently 340 students. Thousands apply each year and even though 70% of applicants are accepted, only about 30 dancers will reach the end of their eight-year training (History of the Vaganova Ballet Academy, <www.vaganovaacademy.com>). During the Soviet era, the Mariinskii Theatre was restricted by the political ideologies of the country’s new government and ballet, as a nonverbal art, was seen as an opportunity to reinforce revolutionary ideals in the general population. For instance, while on the surface a romantic tale about swans, magic, and princes, Chaikovskii’s ballet Swan Lake practically shouts nationalism from the stage. The corps de ballet, with their perfectly synchronized movements, right down to the angle at which the dancers hold their heads, personify the order and conformity encouraged by the communist government (Stanford Dance Scholar Examines How Ballet Challenged the Soviet Regime, <www.news.stanford.edu>). 4 (Mariinskii Ballet-Swan Lake-San Francisco, <www.dancetabs.com>) For some dancers, this environment proved to be too stifling and they defected to the West, where they enjoyed more artistic freedom. One such dancer, Mikhail Baryshnikov, explained his decision by saying: “I am individualist and [in Russia] it is a crime” (Mikhail Baryshnikov Biography, <www.biography.com>). One exception to this phenomenon was Leonid Iakobson, a Russian choreographer who created many pieces for the Kirov ballet, some of which supported the Socialist regime and others that did not (Stanford Dance Scholar Examines How Ballet Challenged the Soviet Regime, <www.news.stanford.edu>). Several pieces by Iakobson could be left up to the viewer’s interpretation. An example of this is Spartacus, a historical tale of a slave who led a rebellion against his Roman masters. Soviet citizens viewed it as a symbol of heroism, while Americans viewed the story as one of defying communism. Objectively, Iakobson created many works that center around a character gaining individuality over a socialist system (Stanford Dance Scholar Examines How Ballet Changed the Soviet Realm, <www.news.stanford.edu>). 5 The Mariinskii Ballet has earned a well-deserved international reputation and goes on annual world tours. Foreign dignitaries make a point of visiting the ballet when they are in Russia. There is even a Kirov Academy of Ballet in Washington D.C. which accepts students in grades 7-12 and offers classical training through their year-round program, along with a complete high school education. More than 75% of graduates find places with ballet companies all over the world. This academy utilizes the Vaganova Method of Classical Ballet, created by Agrippina Vaganova, which has become one of the most popular and highly regarded methods in the modern dance world (<www.kirovacademydc.org>). Today, the Mariinskii Ballet has built a repertoire of over fifty ballets, including classics such as Giselle, Romeo and Juliet, Petrouchka, and Don Quixote1. They also perform one-act ballets, including The Dying Swan (a solo, not to be confused with Swan Lake). The company itself is comprised of over 200 dancers (Mariinsky Ballet, <www.newworldencyclopedia.org>). It is impossible to understand a ballet company without first comprehending the basic structure and hierarchy that rule the company. At the top is the company owner, who is responsible for hiring new dancers, maintenance, and essentially keeping the company alive. Underneath the owner are the principals. These are the performers who dance leading roles and they are different from soloists, who are the next rung of the ladder. Soloists, as their name suggests, get to perform solos during a performance and often serve as understudies for principals. Finally, we 1Recently, Monika the Donkey retired from the stage after 19 years of performing in Don Quixote at the Mariinskii Theatre. She has been replaced by Alina the Donkey (Step-by- step guide to dance: Mariinsky (Kirov) Ballet, <www.theguardian.com>). 6 have the corps de ballet. These dancers rank at the very bottom of a company. They are the group of backup dancers who serve as a backdrop to the stars. The majority of company members fall into this category and most of them remain in this position for their entire careers. This strict hierarchy, based on talent, stage presence, and choreographer preference creates an unbelievably tense, pressure-filled environment for professional dancers (Ballet Company Hierarchy, <www.hierarchystructure.com>). The Mariinskii Ballet has produced a number of influential dancers, teachers, and choreographers during its proud history. One of its most illustrious members is Marius Petipa, who was with the Imperial Russian Ballet for almost sixty years, first as a principal dancer and later as a choreographer and the company’s ballet master. He has been called the “Father of Modern Ballet” and served as an influential figure to nearly all the notable classical ballet artists. He collaborated with Chaikovskii to create the masterpieces that are The Nutcracker, The Sleeping Beauty, and Swan Lake, three of the most popular and enduring ballets of all time. Other important works by Petipa include Giselle, Coppelia, and The Little Hump-Backed Horse, all of which are still performed today, often in the original form choreographed by Petipa (sometimes companies will put their own spin on classic pieces) (Mariinsky Ballet, <www.newworldencyclopedia.org>). Another influential choreographer was George Balanchine (born Georgii Melitonovitch Balanchivadze), who, at the age of 17, began his career with the Russian ballet company in 1921 as a dancer in the corps. However, during a tour of Western Europe in 1924, he defected and joined the Ballets Russes in Paris. In 7 1934, Balanchine left for the U.S. to open the School of American Ballet, which is still in operation today. He eventually left the school and by 1948 had found a home with the New York City Ballet. Some of his greatest achievements involved working closely with Igor Stravinskii and creating many well-known pieces, such as Jewels and Raymonda (George Balanchine, <www.nycballet.com>). Another distinguished dancer is Anna Pavlova. Pavlova (1881-1931) was regarded as the most accomplished ballerina of her day. She, unlike Petipa and Balanchine, was not known for innovation, but rather for her grace and elegance in performing classical dance. Pavlova studied at the Imperial Theatre School until she joined the Imperial Russian Ballet and became a principal dancer.
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